22 February 2005

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THE BAILEY LIGHTHOUSE, HOWTH
THE BAILEY LIGHTHOUSE, HOWTH
Alexander Williams RHA (1884-1930)

Auction Date / Lot No.: 22 February 2005 / 101

Published Estimate: €6,000-8,000

Price Realised: €5500

  • Signature: signed and dated [1889] lower left
  • Medium: oil on canvas laid on board
  • Dimensions: 60 by 105cm., 23.5 by 41.5in.
  • Exhibited: Almost certainly exhibited as Breezy Weather, near the Bailey Light, Howth, RHA, Dublin, 1889, catalogue no. 60 (£30-0-0)
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ENTRANCE TO THE HOWTH HARBOUR FROM THE WEST
ENTRANCE TO THE HOWTH HARBOUR FROM THE WEST
Edwin Hayes RHA ROI (1819-1904)

Auction Date / Lot No.: 22 February 2005 / 102

Published Estimate: €6,000-8,000

Price Realised: €10500


MASTER AUBREY LANE
MASTER AUBREY LANE
Walter Frederick Osborne RHA (1859-1903)

Auction Date / Lot No.: 22 February 2005 / 103

Published Estimate: €20,000-30,000

Price Realised: €30000

  • Signature: signed and dated [1891] lower right;
  • Medium: pastel
  • Dimensions: 72 by 43cm., 28.5 by 17in.
  • Provenance: The Lane family by descent; Christie's, 15 May 2003, lot 41; With the Oriel Gallery, Dublin
  • Exhibited: 'Memorial Exhibition of Osborne's Work', RHA, Dublin, Winter 1903-1904, catalogue no. 200 or 207 as Pastel Portrait, lent by Mrs Lane
  • W. Aubrey Lane Esq. is listed in the Thom’s Directories from 1909 to 1935 practicing as a solicitor from an address at 13 Hume Street and at Limavady. In the original giltwood frame with the frame maker’s label of J. D. Spence, 7 Lower Sackville Street Dublin, on reverse. In 1891 Osborne completed at least two known pastel portraits of the Lane family children: the present portrait of Aubrey Lane and another of his brother Hugh. The latter work was exhibited that year at the RHA (catalogue no. 150) and Bodkin mentioned it in his book, Four Irish Landscape Painters (Talbot Press, Dublin, 1920, page 122), noting by way of clarification that it was not the late Sir Hugh Lane. After Osborne’s death in 1903, the RHA mounted a memorial exhibition, to which “Mrs Lane” loaned two works, each simply titled Pastel Portrait, and which were almost certainly the portraits of young Aubrey and Hugh Lane.

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ON THE BANKS OF THE DODDER, COUNTY DUBLIN
ON THE BANKS OF THE DODDER, COUNTY DUBLIN
Stephen Catterson-Smith Jnr RHA (1849-1912)

Auction Date / Lot No.: 22 February 2005 / 104

Published Estimate: €6,000-8,000

Price Realised: €5800

  • Signature: signed lower right; with original inscribed label on reverse giving title and price (£30-0-0)
  • Medium: oil on canvas
  • Dimensions: 51 by 76cm., 20 by 30in.
  • Provenance: Private collection, Connecticut; Private collection, Dublin
  • In the original carved giltwood frame with framing label and canvas maker’s stamp of J. D. Spence, 38 Westmoreland Street, Dublin. Also with the label of R. Strahan & Co. Ltd., Removals & Warehousing, Stephen’s Green & Hogan Place, and with a printed label: “Liverpool, 1902, R. Jackson & Sons”. Born at 42 St Stephen’s Green, Dublin, Stephen Catterson Smith was named after his father, a prominent Irish portrait painter and President of the RHA. Upon his father’s death in 1872, he inherited Catterson Smith Senior’s flourishing portrait business and thenceforth showed over 150 portraits at the annual RHA exhibitions. He also painted regularly in Scotland and both Scottish and Irish landscapes were regularly exhibited at the Academy. Judging by the titles of works such as On the Liffey (RHA, 1899, no. 153 and RHA, 1900, no. 218) and the River Lee, Co. Cork (RHA, 1901, no. 211), riverside scenes were favoured. On the evidence of the labels on the reverse of the present work, it seems likely to have been exhibited at the Walker Gallery in Liverpool c.1902, and from there shipped to a client in America, where it has remained until recent times.

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CATTLE GRAZING or AFTER THE MILKING
CATTLE GRAZING or AFTER THE MILKING
Richard Thomas Moynan RHA (1856-1906)

Auction Date / Lot No.: 22 February 2005 / 105

Published Estimate: €8,000-10,000

Price Realised: €16000

  • Signature: signed and dated [1894] lower left
  • Medium: oil on canvas
  • Dimensions: 51 by 76cm., 20 by 30in.
  • Exhibited: probably exhibited as After the Milking RHA, Dublin, 1894, catalogue no. 147 (£30-0-0)
  • Richard Thomas Moynan was born at Eldon Terrace, South Circular Road, Dublin in 1856. Having initially chosen to study at the Royal College of Surgeons, he later abandoned the medical profession to pursue his love of art. He exhibited at the RHA for the first time in 1880 and proceeded to win several prizes and medals for both drawing and painting over the following years at the RHA and the Royal Dublin Society’s School of Art. In 1883 he entered the Académie Royal des Beaux-Arts in Antwerp with fellow artist Roderic O’Conor and studied under the Belgian artist Charles Verlat (1824-1890). His contemporaries Walter Osborne, Joseph Malachy Kavanagh and Dermod O’Brien were also studying in Antwerp at this time. After just six months study he won first place for figure painting, out of over 100 students of various nationalities. He continued his studies in Paris where he had similar success in painting and drawing competitions. He returned to Dublin in 1886 and five years later exhibited his highest priced work at the time, Military Manoeuvres, now one of the most well known works in the National Gallery of Ireland. Moynan was a leading and most popular exhibitor at the RHA and had every prospect of a long and successful career. However, his output was limited due to ill health and in April 1906 he died at the age of 50.

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FIGURES ON THE SAND BY BELFAST LOUGH
FIGURES ON THE SAND BY BELFAST LOUGH
William Nicholl (1794-1840)

Auction Date / Lot No.: 22 February 2005 / 106

Published Estimate: €800-1,000

Price Realised: €1500

  • Medium: watercolour over pencil
  • Dimensions: 13 by 21cm., 5 by 8.25in.
  • Provenance: By descent from the artist's brother, Andrew Nicholl, RHA, to the previous owner; Private collection, Co. Dublin
  • From a folio of 58 sketches and studies by this Belfast and amateur artist, elder brother of Andrew Nicholl RHA.

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FISHING VESSELLS IN A HARBOUR
FISHING VESSELLS IN A HARBOUR
Edwin Hayes RHA ROI (1819-1904)

Auction Date / Lot No.: 22 February 2005 / 107

Published Estimate: €2,000-3,000

Price Realised: €2100


LAUNCHING THE BOATS NEAR A PIER
LAUNCHING THE BOATS NEAR A PIER
Edwin Hayes RHA ROI (1819-1904)

Auction Date / Lot No.: 22 February 2005 / 108

Published Estimate: €3,500-4,500

Price Realised: 

  • Signature: signed and dated [1862] lower right; typed exhibition label on reverse
  • Medium: watercolour with gum arabic, heightened with bodycolour
  • Dimensions: 22 by 50cm., 8.75 by 19.5in.
  • Provenance: Heather Newman Fine Art, Painswick, Gloucestershire; William & Joan Roth; Private collection, Dublin
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AN OLD MAN SEATED and A YOUNG MAN IN A BLUE COAT AND TAM O'SHANTER (A PAIR)
AN OLD MAN SEATED and A YOUNG MAN IN A BLUE COAT AND TAM O'SHANTER (A PAIR)
Erskine Nicol RSA ARA (1825-1904)

Auction Date / Lot No.: 22 February 2005 / 109

Published Estimate: €4,000-5,000

Price Realised: €4800

  • Signature: the former signed and dated [1885] lower right
  • Medium: watercolour and bodycolour over pencil on paper
  • Dimensions: 25 by 20cm., 9.75 by 8in.
  • Provenance: Gorry Gallery, Dublin; Private collection, London
  • The second work measures 8.75 by 7 inches.

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RIVER LANDSCAPE
RIVER LANDSCAPE
Seán O'Casey (1880-1964)

Auction Date / Lot No.: 22 February 2005 / 110

Published Estimate: €4,000-6,000

Price Realised: €5200

  • Signature: signed and dated [1898] lower right; inscribed by the artis's son, Breon O'Casey, on reverse
  • Medium: watercolour over pencil on paper
  • Dimensions: 41 by 28cm., 16 by 11in.
  • Provenance: Tom Glazier, a friend of O'Casey's, Bristol; By whom given to the mother of the present owner
  • Exhibited: Dublin Civic Museum, 1992
  • Literature: Christopher Murray, Seán O'Casey: Writer at Work - A Biography, Gill & Macmillan, Dublin, 2004, pp. 61-62 and illustrated plate 1
  • In a recently published biography of Irish playwright Seán O’Casey, his early artistic endeavours are discussed in some detail: “Among his many early interests was painting. He was remembered as ‘a young man very good at sketching’... All through his life he maintained this ability to draw quick and accurate sketches, cartoons, usually satirical. Later he also painted scenes on postcards which he sent to friends. He had a good eye for art and read about it assiduously, starting with Ruskin’s books... Speaking of himself in the third person, he describes in his autobiographies how he would look ‘prayerfully’ in the window of an arts supply shop in Dawson Street, ‘his eyes ravished with the water-colours displayed there; at the brushes, thin and delicate; the piled-up boxes of paints of every sort and size; the pyramids of tubes filled with glowing colours’” (Murray op. cit., p. 61). Murray also records that as a young man O’Casey (then known as John rather than Seán) purchased a book of reproductions of Constable’s paintings. He goes on to discuss the present work: “Recently a watercolour has come to light, signed ‘John Casey’ and dated 1898. Could it be by the youth with the small box of paints? Its owner believes so, although as the provenance is unclear it is difficult to be sure. The scene is a landscape, with a placid enough river with ‘sunny nooks making the green shades greener’. Could he have done it under the influence of Constable? It is possible. He would have been eighteen at the time” (p. 62). O’Casey’s painting career was to be short-lived. His family were unable to afford the formal training necessary for him to paint professionally, and as Murray concludes, “the interest in art, passionate though it was, was destined to be subordinated to the interest in drama” (p. 61).

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FLIGHT OF MALLARDS OVER A MARSH
FLIGHT OF MALLARDS OVER A MARSH
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 22 February 2005 / 111

Published Estimate: €6,000-8,000

Price Realised: 

  • Signature: signed lower left; typed gallery label on reverse
  • Medium: watercolour, pen and ink with bodycolour and sgraffito
  • Dimensions: 34 by 52cm., 13.5 by 20.5in.
  • Provenance: Fry Art Gallery, Jermyn Street, London; Private collection, England
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CARRICKFERGUS CASTLE
CARRICKFERGUS CASTLE
William Nicholl (1794-1840)

Auction Date / Lot No.: 22 February 2005 / 112

Published Estimate: €800-1,000

Price Realised: €800

  • Signature: inscribed on reverse
  • Medium: watercolour
  • Dimensions: 18 by 25cm., 7 by 10in.
  • Provenance: By descent from the artist's brother, Andrew Nicholl RHA, to the previous owner; Private collection, Co. Dublin
  • From a folio of 58 sketches and studies.

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IRELAND'S ARCHITECTURAL ANTIQUITIES - AN IMPORTANT COLLECTION OF DRAWINGS
IRELAND'S ARCHITECTURAL ANTIQUITIES - AN IMPORTANT COLLECTION OF DRAWINGS
George Wilkinson FRIBA (1814-1890) and others

Auction Date / Lot No.: 22 February 2005 / 113

Published Estimate: €10,000-15,000

Price Realised: €9500

  • Signature: many signed; variously dated [1842-1844] and nearly all inscribed
  • Medium: pen and ink on paper, some with wash; pencil drawings heightened with white (114 items total)
  • Dimensions: 0 by 0cm., 0 by 0in.
  • An important collection of drawings of Ireland’s antiquities, gathered during the early 1840s by George Wilkinson, Architect for the Poor Law Commissioners in Ireland. The drawings were collated as research towards Wilkinson’s book, Practical Geology and Ancient Architecture of Ireland, published jointly by John Murray of London and William Curry Jnr. & Co. of Dublin in 1845. They are by various artists including: Edward Hassell RBA (fl.1827-1852), Kivas Tully (1820-1905 – born in Co. Offaly, trained as an architect in Limerick, appointed Superintendent under George Wilkinson, later well known architect in Toronto, Canada), John Kelly, Frank Davidson, M. Moore C. W., George Duggan, R. G. Clark, J. Gibbs, Annie Deane, and George Wilkinson himself. Wilkinson was born in Witney, Oxfordshire and trained in England as an architect. He specialised in designing workhouses, which led the Poor Law Commissioners in Ireland to appoint him chief architect during the 1830s. He was responsible for the design of many of Ireland’s poorhouses, as well as the much admired train station at Harcourt Street in Dublin (1858-59). He was later appointed Inspector of Buildings. The drawings in this collection cover approximately seventeen counties, with Carlow, Kerry, Limerick, Waterford and Wexford particularly well represented. Included are studies of Dunbrody Abbey, St. Mary’s in Wexford, Aghadoe Cathedral and round tower in Kerry, Ross Castle, Kenmare Abbey, Ballycarbery Castle, Mucross Abbey, the Norman Church at Killaloe, various castles in Co. Carlow (Ballymoon, Carlow, Clogrennan and Clonmore), Castledermott, Cashel, Askeaton Abbey, Ballyallen Castle, the round tower at Ardmore, Boyle Abbey, Tuam Cathedral, Innis Mor, Sligo Abbey, Moyne Abbey, the high cross at Kells, the round tower at Clondalkin and the passage tomb at Newgrange. Also included are architectural plans for private homes including Menlough Castle, Co. Galway, seat of Sir V. Blake, and landscapes such as a view of the Seven Churches on Inishmore. Most are extensively annotated; includes a handwritten two page essay on folio sheets on the subject of round towers of Ireland, illustrated by examples from Clone, Co. Monaghan, by George Duggan. Some of the drawings can be linked directly to the lithographed and line engraved illustrations (mostly unattributed) in Wilkinson’s book.

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LANDSCAPE WITH COASTAL VILLAGE AND PIER
LANDSCAPE WITH COASTAL VILLAGE AND PIER
Wycliffe Egginton RI RWS (1875-1951)

Auction Date / Lot No.: 22 February 2005 / 114

Published Estimate: €2,000-3,000

Price Realised: €1900


SEA PORT AT SUNSET, AFTER CLAUDE
SEA PORT AT SUNSET, AFTER CLAUDE
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 22 February 2005 / 115

Published Estimate: €1,000-1,200

Price Realised: €950

  • Signature: inscribed on mount
  • Medium: watercolour on paper
  • Dimensions: 23 by 36cm., 9.25 by 14in.
  • Provenance: By descent to the previous owner; Private collection, Co. Dublin
  • A copy after a work by Claude Lorraine, formerly in the collection of the National Gallery in London. With a second work, unfinished, of another maritime scene by Claude (12.5 x 16 inches). (2)

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ON THE DODDER AT CLONSKEA
ON THE DODDER AT CLONSKEA
J. Cunningham (fl.1920s)

Auction Date / Lot No.: 22 February 2005 / 116

Published Estimate: €500-600

Price Realised: €1600

  • Signature: signed and dated [1920] lower left; original inscribed label on reverse
  • Medium: watercolour
  • Dimensions: 19 by 27cm., 7.5 by 10.5in.
  • Exhibited: WCSI, Dublin, 1921, catalogue no. 157 (£3-10-0)
  • Little is known about this artist other than that during the 1920s landscapes painted in Dublin, Cork and Newry were exhibited with the Dublin Sketching Club and the WCSI. He or she was possibly a relative of Oswald H. Cunningham (1883-c.1935), a painter and illustrator whom Snoddy (pp. 121-122) records as being born in Newry, Co. Down, the son of one James Cunningham.

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VIEW OF CAMBER CASTLE, RYE and HAYMAKING NEAR TEWKESBURY, GLOUCESTERSHIRE (A PAIR)
VIEW OF CAMBER CASTLE, RYE and HAYMAKING NEAR TEWKESBURY, GLOUCESTERSHIRE (A PAIR)
Claude Hayes RI ROI (1852-1922)

Auction Date / Lot No.: 22 February 2005 / 117

Published Estimate: €1,500-2,000

Price Realised: 

  • Signature: the former with an original inscribed label on reverse; the latter signed lower right and inscribed "Tewkesbury" on reverse
  • Medium: watercolour (2)
  • Dimensions: 28 by 43cm., 11 by 17in.
  • Provenance: Brook Street Art Gallery, London; Private collection
  • The second work measures 9.5 x 12 inches.

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THE CAVALIER
THE CAVALIER
William Linnaeus Casey (1835-1870)

Auction Date / Lot No.: 22 February 2005 / 118

Published Estimate: €3,000-4,000

Price Realised: 

  • Signature: inscribed by a previous owner on reverse
  • Medium: watercolour with bodycolour and gum arabic
  • Dimensions: 28 by 23cm., 11 by 9.25in.
  • Provenance: Estate of Councillor Hewitt, Cork; Joseph Donnelly, solicitor, Cork; Private collection, England
  • Born in Cork, Casey studied at the Cork School of Design during the early 1850s. In 1852 he won a scholarship to the School of Design at Marlborough House, London. Two years later he returned to Ireland to accept a teaching post at the Limerick School of Art, remaining there four years, after which he went to London again. There he was appointed Master of the St. Martin’s Lane Academy, where the future King Edward VII was one of his pupils. Ruskin praised the richness of colouring in his work. Three watercolours of Casey’s are in the V&A and an oil is in the Crawford Gallery, Cork (see Strickland, Vol. 1, p. 162).

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CAPTAIN ROBERT MAUNSELL
CAPTAIN ROBERT MAUNSELL
John Comerford (c.1770-1832)

Auction Date / Lot No.: 22 February 2005 / 119

Published Estimate: €800-1,000

Price Realised: 

  • Signature: signed, inscribed "Robert Maunsell" and dated [1814] on reverse
  • Medium: watercolour miniature (oval shaped and in a temporary frame)
  • Dimensions: 8 by 7cm., 3.25 by 2.75in.
  • Literature: Paul Caffrey, John Comerford and the Portrait Miniature in Ireland c.1620-1850, Kilkenny Archaeological Society, 1999, listed on page 71
  • Listed in Comerford’s fee book for the 14th October 1814 was a portrait sitting with one Captain Maunsell (Caffrey, op. cit., p. 71). Robert Maunsell was captain of the Royal Navy vessell, The Procris, which was involved in the capture of Java in 1811.

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THE CAVALIER'S ESCAPE
THE CAVALIER'S ESCAPE
Matthew James Lawless (1837-1864)

Auction Date / Lot No.: 22 February 2005 / 120

Published Estimate: €2,000-3,000

Price Realised: €1600

  • Signature: signed in monogram and dated [1861] lower right
  • Medium: pencil and wash on paper
  • Dimensions: 10 by 13cm., 4 by 5.25in.
  • Literature: W. Thornbury, 'The Cavalier's Escape', Once A Week, Vol. IV, 1861, p. 684 (engraved illustration); Walter Strickland, A Dictionary of Irish Artists Vol. II, Irish University Press; Shannon, 1969, engraving listed p. 6
  • Considered by Strickland to be “one of the most brilliant and promising young artists to whom Ireland has given birth”, Matthew Lawless was a Pre-Raphaelite painter and illustrator who had a tragically brief career, dying of consumption at the age of 27. His work is consequently very rare and little known, although his large oil, The Sick Call, in the National Gallery of Ireland would be familiar to many. Born in Dublin, the son of solicitor Barry Edward Lawless of Harcourt Street, he studied art at the Langham School under Henry O’Neill RA. He began exhibiting at the RA at the age of 21, but was better known for his illustration work which was widely admired. In particular his drawings for Once a Week, such as is seen here, demonstrated according to Strickland “a genius of invention and a sense of beauty and form which ranked him as but little inferior to Millais and Sandys, and speedily obtained for him a wide reputation”. The present work was used as an illustration to Walter Thornbury’s poem of the same title. The wood engraved illustration differs slightly in that the background is more heavily wooded and a small bird was added just above the artist’s monogram. It is accompanied by a letter from Dr Mark L. Evans, Senior Curator of Paintings at the V&A Museum, confirming the title of the work.

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BLIND MAN'S BLUFF (A PAIR)
BLIND MAN'S BLUFF (A PAIR)
School of Nicolas Lancret (1690-1743)

Auction Date / Lot No.: 22 February 2005 / 121

Published Estimate: €8,000-12,000

Price Realised: €6200

  • Medium: oil on canvas (2)
  • Dimensions: 66 by 83cm., 26 by 32.5in.
  • Provenance: The Hon. Mrs Aileen Plunket, Luttrellstown Castle, Clonsilla, Co. Dublin; Christie, Manson & Woods, 26-28 September 1983, lot 471; Whence purchased by the present owner
  • Each work measures 26 x 33.5 inches

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FIELD WORKERS
FIELD WORKERS
Nathaniel Hone RHA (1831-1917)

Auction Date / Lot No.: 22 February 2005 / 122

Published Estimate: €8,000-10,000

Price Realised: €9000

  • Signature: signed with initials lower left
  • Medium: oil on canvas laid on board
  • Dimensions: 33 by 46cm., 13 by 18in.
  • Provenance: Collection of Commander Brooke (inscribed on reverse); James Adam, Dublin, 24 March 1983, lot 154; Private collection, Dublin
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ROCKS AND SURF
ROCKS AND SURF
Nathaniel Hone RHA (1831-1917)

Auction Date / Lot No.: 22 February 2005 / 123

Published Estimate: €6,000-8,000

Price Realised: €8000

  • Signature: signed with initials lower right
  • Medium: oil on canvas
  • Dimensions: 25 by 36cm., 10 by 14in.
  • Provenance: Christie's, Fine Irish Paintings and Drawings, Dublin, 24 October 1988, lot 37 (illustrated in colour, p. 27); Private collection, Dublin
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PORTRAIT OF GRACIE YEATS (MRS MATTHEW YEATS)
PORTRAIT OF GRACIE YEATS (MRS MATTHEW YEATS)
John Butler Yeats RHA (1839-1922)

Auction Date / Lot No.: 22 February 2005 / 124

Published Estimate: €8,000-10,000

Price Realised: 

  • Signature: with a label on reverse inscribed in a later hand: "A.G.M. Yeats (Mrs Matthew Yeats) by John Butler Yeats RHA"
  • Medium: oil on canvas
  • Dimensions: 61 by 51cm., 24 by 20in.
  • Provenance: J. Edwin Yeats (the sitter’s son), Toronto, Canada; Thence by descent; Sotheby’s, Billingshurst, August 2001; Private collection, Nottinghamshire
  • A.G.M. Yeats, or ‘Gracie Yeats’ as she was known, was John Butler Yeats’ aunt by marriage. Born Grace Drew, her father was for many years an archdeacon in the Bahamas; he later became rector at Skibereen, Co. Cork. Grace married Matthew Yeats, the ninth and youngest son of the Rev. John Yeats (1774-1846), rector of Drumcliffe in Co. Sligo and John Butler Yeat’s paternal grandfather. Matthew Yeats (1819-1885) worked as a land agent, initially in Celbridge, Co. Kildare, and later in Sligo. William M. Murphy records that John Butler Yeats “often went out of his way” to visit his youngest uncle Matt, who was “yet another affectionate Yeats” and later acted as John’s agent when he inherited property in Thomastown, Co. Kildare (William M. Murphy, Prodigal Father: The Life of John Butler Yeats, Cornell University Press, 1978, p. 30). Matthew and Grace married late in life, thus their children were similar in age to John’s own family. When John’s family were spending a summer with the Pollexfen relations in Sligo, Willie, Lily and Lolly (Jack was too young) would walk to Matthew and Grace’s house, ‘Fort Louis’, there to play in the “enchanted” garden and jointly terrorise the neighbouring children (Murphy, op. cit., p. 92). John was evidently very fond of Matthew, Grace, and his young cousins. During the summer of 1874 he tutored Matt’s eldest son Frank and described it as “the pleasantest time” he had ever spent in Sligo (Murphy, op. cit., p. 102). Yet when the same child was much younger, Grace had “deliberately put her young baby Frank out of sight when John Butler Yeats visited them at Celbridge”, for John did not respond well to babies, who were “conversationalists and thinkers only potentially” (pp. 495-496). William Murphy’s biography of John Butler Yeats refers frequently to Matthew Yeats, particularly in his capacity as John’s land agent, and as a relation whom John consistently favoured over his dreaded in-laws, the Pollexfens. Three of Matthew and Grace’s children - Frank, Edwin and Elizabeth - later emigrated to Canada, but John remained in touch with them. Indeed, when Elizabeth’s daughter the poet Norah Holland (1876-1925) visited Ireland in 1904, John drew a sketch of her, which was later reproduced in an anthology of Canadian poetry. The present portrait of Matthew’s wife Grace was no doubt painted as a tribute to his favourite uncle and by way of thanks for his efforts in managing John’s complicated financial affairs.

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AN ARCHIVE OF PAPERS AND PHOTOGRAPHS RELATING TO THE YEATS FAMILY'S CANADIAN CONNECTIONS
AN ARCHIVE OF PAPERS AND PHOTOGRAPHS RELATING TO THE YEATS FAMILY'S CANADIAN CONNECTIONS
 [Yeats family] 

Auction Date / Lot No.: 22 February 2005 / 125

Published Estimate: €1,000-1,500

Price Realised: €2100

  • Dimensions: 0 by 0cm., by in.
  • Provenance: J. Edwin Yeats (the sitter’s son), Toronto, Canada; Thence by descent; Sotheby’s, Billingshurst, August 2001; Private collection, Nottinghamshire
  • A collection consisting of a photograph album, loose photographs (10), postcards (17), framed sketches (2) and a letter - the property of J. Edwin Yeats, a first cousin of John Butler Yeats. Edwin was the third son of John Butler Yeats’ favourite uncle Matthew Yeats. He emigrated to Toronto, Canada, and worked there as a banker. The archive contains 13 postcards sent from Edwin’s unmarried sister Grace A. Yeats (pictured in photograph), who remained in Ireland, living in Dalkey, addressed variously to Edwin, his wife Jennie, and their two children, Frank and Grace B. Yeats. Also 3 postcards from Grace’s mother, A.G.M. Yeats (‘Gracie Yeats’ - the sitter in John Butler Yeats’ portrait - see previous lot) to her son’s family in Canada. The letter, dated 31 May 1919, and sent from Denham, Canada, is from Edwin’s brother Dr John Francis Yeats, ‘Frank Yeats’, and discusses mainly financial affairs. Also included is a pencil and wash drawing (5.75 by 7.5 inches) of Lough Gill in Sligo, by Frank Yeats; the inscription on reverse records it was his first sketch, done at the age of 60 in September 1922, and given by him that Christmas to his brother Edwin. A second drawing in the same hand although unsigned (4.5 by 7 inches, pencil and wash), is inscribed “Killnamora” and depicts a house which is believed to be Matthew and Grace Yeats’ first home in Co. Kildare. Frank’s was also probably the hand that coloured a black and white photograph of Fort Louis, Matthew and Grace’s house in Co. Sligo, where John Butler Yeats frequently visited. The photograph album contains portrait photographs of many members of the Yeats family, including two of John Butler Yeats, circa 1920, as well as an autographed photograph of Irish poet, novelist and friend of W.B. Yeats, Katherine Tynan (1861-1931), inscribed to Edwin Yeats and dated 24 February 1888.

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SUNSET OVER A WESTERN BOG
SUNSET OVER A WESTERN BOG
William Percy French (1854-1920)

Auction Date / Lot No.: 22 February 2005 / 126

Published Estimate: €2,000-3,000

Price Realised: €4200


THE END OF AUTUMN
THE END OF AUTUMN
David Gould (1855-1930)

Auction Date / Lot No.: 22 February 2005 / 127

Published Estimate: €1,200-1,500

Price Realised: €2000

  • Signature: signed lower left; original label on reverse inscribed with artist's address (133 University Street, Belfast), the painting's title and price (£10-10-0); also with the framing label of William Mol & Son, Belfast, on reverse
  • Medium: watercolour
  • Dimensions: 36 by 52cm., 14 by 20.5in.
  • Painted in the 1920s and thought to be a view of the river Lagan, which the artist painted on many occasions. David Gould was born in Kinross, Scotland. He came to Belfast in 1891 to learn damask design, but instead studied painting at the Government School of Art, subsequently teaching there and at numerous schools in Lisburn and Bangor. He was a founding member and president of the Ulster Arts Club and showed with them and with the Belfast Art Society, the RHA and the RA. (See Snoddy, p. 204).

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RECLINING NUDE IN A LANDSCAPE
RECLINING NUDE IN A LANDSCAPE
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 22 February 2005 / 128

Published Estimate: €1,500-2,000

Price Realised: €1400


ALPINE SNOW SCENE WITH SPRUCE TREES
ALPINE SNOW SCENE WITH SPRUCE TREES
William Percy French (1854-1920)

Auction Date / Lot No.: 22 February 2005 / 129

Published Estimate: €2,000-3,000

Price Realised: €2800

  • Signature: signed and dated [1915] lower right; with a Combridge's framing label on reverse
  • Medium: watercolour
  • Dimensions: 18 by 13cm., 7 by 5in.
  • Percy French painted a number of snow scenes both in Switzerland, where he spent much of 1913 performing his famous variety sketches in the alpine hotels, and in France, where he travelled during the early years of WWI, entertaining the troops.

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VISITORS AT THE ENTRANCE OF FINGAL'S CAVE, STAFFA
VISITORS AT THE ENTRANCE OF FINGAL'S CAVE, STAFFA
Joseph William Carey RUA (1859-1937)

Auction Date / Lot No.: 22 February 2005 / 130

Published Estimate: €1,000-1,500

Price Realised: 

  • Signature: signed and dated [1910] lower right
  • Medium: watercolour over pencil heightened with white
  • Dimensions: 18 by 12cm., 7 by 4.75in.
  • Fingal's cave is a basalt seacave on the Isle of Staffa, six miles north of Iona, and was once connected to the Giant's Causeway in Co. Antrim.

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GORDON CAMPBELL, ESQ.
GORDON CAMPBELL, ESQ.
Mary Duncan (1885-1964)

Auction Date / Lot No.: 22 February 2005 / 131

Published Estimate: €800-1,000

Price Realised: €800

  • Signature: signed lower left; inscribed lower right; gallery label on reverse
  • Medium: pencil on paper
  • Dimensions: 24 by 17cm., 9.5 by 6.5in.
  • Provenance: Portscatho Art Society, Truro, Cornwall; Private collection, England
  • Drawn as a preliminary sketch for an etching which was exhibited in a joint show with Estella Solomons at the Mills Hall, Dublin, in 1919 (catalogue no. 54, £1-1-0). Charles Henry Gordon Campbell (1885-1963), 2nd Baron Glenavy, was former Governor of the Bank of Ireland. He was also a poet, playwright and critic who numbered among his close friends D.H. Lawrence, Katherine Mansfield and John Middleton Murray. In 1912 he married the artist Beatrice Elvery (1881-1970), later known as Lady Glenavy RHA, through whom it is believed he met Mary Duncan. Both women were former students of the Slade School of Art in London and good friends with Estella Solomons (1882-1968). Duncan lived in Dublin c.1910-1922, after which she continued to contribute works to the annual RHA exhibition from her studio near Penzance in Cornwall.

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PORTRAIT OF J. MARSHALL MURRAY
PORTRAIT OF J. MARSHALL MURRAY
Walter Frederick Osborne RHA (1859-1903)

Auction Date / Lot No.: 22 February 2005 / 132

Published Estimate: €8,000-10,000

Price Realised: 

  • Signature: signed upper left
  • Medium: oil on canvas
  • Dimensions: 76 by 64cm., 30 by 25in.
  • James Marshall Murray JP, of Lowville in Merrion, Co. Dublin, was from 1860-1896 a partner in the firm of bankers and stockbrokers, Boyle Low and Murray of 35 College Green, and for the years 1878-1893 served as President of the Dublin Stock Exchange. He was also an active member of a local freemasons lodge, as indicated by a plaque on the frame which reads: “In memoriam/J. Marshall P Murray Obiit 24 Dec. 1896/Grand Secretary 1871-1878/Grand Treasurer 1886-1896". In the original gilt-wood frame with a Combridge’s of Dublin frame maker’s label on reverse. Another version of this work, showing the sitter in three-quarter length, seated in the President’s chair of the then Dublin Stock Exchange, with a paper in his hand, exists in the Irish Stock Exchange, Dublin. With thanks to James Ferguson, James Lyons and David Scott for their help in cataloguing this lot.

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THE CAPTIVE ARCHER, 1914
THE CAPTIVE ARCHER, 1914
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 22 February 2005 / 133

Published Estimate: €8,000-10,000

Price Realised: €6700

  • Signature: signed in monogram lower right; original exhibition label on reverse
  • Medium: pen and ink over pencil on card
  • Dimensions: 17 by 13cm., 6.75 by 5.25in.
  • Provenance: Victor Waddington, London; Dawson Gallery, Dublin; Private collection; James Adam Salerooms, Dublin, 31 May 2000, lot 46; Private collection
  • Literature: Reproduced in A Broadside, no. 3 August 1914, as an illustration to Pádraic Colum’s eponymous poem; Hilary Pyle, The Different Worlds of Jack B. Yeats: His Cartoons and Illustrations, Irish Academic Press, Dublin, 1994, catalogue no. 1966, p. 270.
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MICHAEL COLLINS and ARTHUR GRIFFITH (A PAIR)
MICHAEL COLLINS and ARTHUR GRIFFITH (A PAIR)
Sir John Lavery RA RHA RSA (1856-1941)

Auction Date / Lot No.: 22 February 2005 / 134

Published Estimate: €8,000-10,000

Price Realised: €20000

  • Signature: each work signed in lower margin by both artist and sitter
  • Medium: lithographs (2)
  • Dimensions: 51 by 41cm., 20 by 16in.
  • Lavery painted portraits of Griffith and Collins in 1921 whilst they were in London negotiating the terms of the Irish Treaty. Within months of their portraits being painted, both men were dead - Griffith of a heart attack, Collins assasinated only weeks later. The present pair of lithographs are based on the oil portraits, which are now in the collection of the Hugh Lane Municipal Gallery of Modern Art, Dublin.

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ROSES
ROSES
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 22 February 2005 / 135

Published Estimate: €4,000-5,000

Price Realised: €7500

  • Signature: signed lower left
  • Medium: oil on panel
  • Dimensions: 37 by 50cm., 14.5 by 19.5in.
  • Exhibited: (?) RHA, 1932, catalogue no. 307 (£10-0-0)
  • Still lives occurred infrequently in McKelvey's oeuvre; indeed this is believed to have been just one of the two flower pieces exhibited at the RHA, the other being of marigolds.

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BLUEBELLS WITH VIEW OF BELFAST LOUGH
BLUEBELLS WITH VIEW OF BELFAST LOUGH
Thomas Bond Walker (1861-1933)

Auction Date / Lot No.: 22 February 2005 / 136

Published Estimate: €2,000-3,000

Price Realised: €2200


THE BATHERS
THE BATHERS
Robert Boyd Morrison (1896-1969)

Auction Date / Lot No.: 22 February 2005 / 137

Published Estimate: €20,000-30,000

Price Realised: 

  • Signature: signed and dated [1936] lower right
  • Medium: oil on canvas
  • Dimensions: 61 by 91cm., 24 by 36in.
  • Provenance: The artist's nephew, Alan Morrison, by descent; Private collection, London
  • Born in Belfast, Boyd Morrison left school at an early age to work as an apprentice to the lithographer Samuel Leighton, attending classes by night at the Belfast College of Art. Upon the outbreak of WWI he enlisted with the Royal Irish Fusiliers and in 1917 was wounded at Messines. He spent a year in hospital before receiving a rehabilitation grant which allowed him to enrol at the Slade School of Art in London. There he was influenced by the famous Professor Tonks, who is reputed to have asked the young Irishman to stay on as a teacher, an offer which Morrison declined. A drawing done by Morrison whilst at the Slade sold through these rooms (13 March 2001, lot 219); another work dated 1923 is in the Slade School collection, UCL. Throughout the 1920s Morrison associated with many avant-garde artists in London including William Nicholson, Paul Nash and Randolph Schwabe, all of whom were fellow Slade graduates and contributors to The Robes of Thespis, a book on theatre costume design which was jointly edited by Morrison and George Sheringham and published in 1928. The original watercolours for Morrison’s designs for this book are in the collection of the V&A. Max Beerbohm was another good friend and contributor to the book. In the UK Morrison exhibited at London’s Goupil Gallery and with the RA, the RSA and the National Society of Painters, Sculptors, Engravers and Potters, of which he was a founding member. By 1926 he had returned to live in Belfast and six years later had a solo show of some fifty works at Belfast’s Locksley Hall. In 1940 he contributed a work to the RHA from an address in Bangor, Co. Down. The following year he moved to Leamington, Warwickshire, where during the war his studio was destroyed by fire, an event said to have left him depressed. After this he focused primarily on teaching and portrait commissions. He painted portraits of his neighbour, the Conservative MP and Foreign Secretary (later Prime Minister), Anthony Eden, and those of his family; the Earl of Spencer was another patron. He left Warwickshire in 1948 and returned to Bangor, where he ran private art classes and taught the mural painter Sidney Smith among others. The present work, with its rounded and carefully outlined forms, is characteristic of that produced by many Slade School graduates and is comparable to work of the same period by Mark Gertler and John Luke.

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FETE CHAMPETRE
FETE CHAMPETRE
Robert Boyd Morrison (1896-1969)

Auction Date / Lot No.: 22 February 2005 / 138

Published Estimate: €20,000-30,000

Price Realised: 

  • Medium: oil on canvas
  • Dimensions: 64 by 84cm., 25 by 33in.
  • Provenance: The artist's nephew, Alan Morrison, by descent; Private collection, London
  • Stylistically this appears a much earlier work than the previous lot. Though somewhat theatrically posed, the figures are quite naturalistic, as are the landscape elements- note for instance the difference in treatment of the trees and cliffs in the two works. The composition as a whole echoes some of the larger tableaus of Augustus John, whose work was universally admired among pupils at the Slade. Indeed it was probably painted in response to a set theme for one of the Slade’s summer competitions in the early 1920s. The work also references certain masterpieces of both Renaissance and modern art. The woman in the centre strumming a lute calls to mind the central musician in Titian’s Concert Champêtre (c.1510), whilst the gesticulating man in the foreground serves to lead the viewer’s eye to the musician in a manner similar to that of the right-hand figure in Manet’s Le Déjeuner sur l’herbe of 1863, and in Cezanne’s version thereof, from 1870-71. Such large, elaborate compositions by Morrison are but little known and notably rare.

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PORTRAIT OF GEORGIA CLOUGH (USA)
PORTRAIT OF GEORGIA CLOUGH (USA)
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 22 February 2005 / 139

Published Estimate: €1,500-1,800

Price Realised: €2200


CACTUS A AIX EN PROVENCE
CACTUS A AIX EN PROVENCE
Sine MacKinnon (1901-1996)

Auction Date / Lot No.: 22 February 2005 / 140

Published Estimate: €1,500-2,000

Price Realised: €1200

  • Signature: original inscribed label on reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 41 by 33cm., 16 by 13in.
  • Born in Newcastle, Co. Down, Sine MacKinnon studied at the Slade School in London under Henry Tonks from 1918–1924, winning many prizes in painting and drawing. She then moved to Paris, having two exhibitions there before returning to London. Her first London one-man show was at the Goupil Gallery in 1928, the same year that she met her future husband Rupert Granville-Fordham (1898-1974), also a painter. A year later she held a joint exhibition with Stephen Bone at the Fine Art Society, London, where they both exhibited paintings of Connemara. She travelled extensively throughout Europe, painting in Ireland, Italy, Spain, Greece and Switzerland but for most of her life she resided in France, where she painted the present work.

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A VILLA IN FORNALUTZ, MAJORCA
A VILLA IN FORNALUTZ, MAJORCA
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 22 February 2005 / 141

Published Estimate: €1,500-2,000

Price Realised: €1600

  • Signature: signed and dated [1972] lower right
  • Medium: acrylic and pencil on board
  • Dimensions: 42 by 58cm., 16.5 by 23in.
  • Provenance: Rowley Gallery, London; Private collection, London
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HOUSE AMONG THE OLIVE GROVES
HOUSE AMONG THE OLIVE GROVES
Phoebe Donavan (1902-1998)

Auction Date / Lot No.: 22 February 2005 / 142

Published Estimate: €1,500-2,000

Price Realised: €2400

  • Signature: signed lower left
  • Medium: oil on canvas board
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Painted circa 1960s-1970s in Provence, where the artist had a cousin whom she used to visit each February. For a biography of this Wexford-born artist, see Snoddy, pp. 142-143.

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WOMAN AND MAID IN A ROOM BY OPEN FIRE
WOMAN AND MAID IN A ROOM BY OPEN FIRE
Harry Epworth Allen RBA (1894-1955)

Auction Date / Lot No.: 22 February 2005 / 143

Published Estimate: €2,000-3,000

Price Realised: €3000


PLAN FOR THE IRISH PAVILION, NEW YORK WORLD FAIR, 1939
PLAN FOR THE IRISH PAVILION, NEW YORK WORLD FAIR, 1939
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 22 February 2005 / 144

Published Estimate: €3,000-5,000

Price Realised: €8000

  • Signature: signed lower left; inscribed with diagram scale lower right; fully inscribed on reverse
  • Medium: watercolour over pencil heightened with white
  • Dimensions: 42 by 25cm., 16.5 by 10in.
  • The design for Ireland’s pavilion at the 1939 New York World Fair was a controversial affair. This was the first time that Ireland had appeared as an independent nation at an international trade fair and much negotiating went into acquiring a prime location away from the British pavilion. Michael Scott designed the quintessentially modernist building, the ground plan of which was shamrock-shaped and consisted of a mural hall decorated by Seán Keating and three exhibition spaces containing displays of Irish industries and artworks by Maurice MacGonigal, Evie Hone and Kernoff among others. Kernoff’s proposed winding staircase in this watercolour is notably close in structure to that which Scott designed and had built.

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JACK YEATS IN OLD AGE
JACK YEATS IN OLD AGE
Philip Moysey (1912-1991)

Auction Date / Lot No.: 22 February 2005 / 145

Published Estimate: €1,500-2,000

Price Realised: €1400

  • Signature: signed and dated [1950] lower left; inscribed in another hand on reverse
  • Medium: pastel on paper
  • Dimensions: 38 by 27cm., 15 by 10.5in.
  • Philip Moysey was a pupil and friend of Oskar Kokoschka (1886-1980), who was most probably responsible for introducing him to Victor Waddington and Jack B. Yeats. He had three one-man shows with Waddington in Dublin: 1948, 1950 and 1953. Yeats attended the opening of the 1950 exhibition, when he was approaching his 80th year. For a biography of Moysey, see the catalogue of his 1990 retrospective exhibition, a copy of which is included with this lot.

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THE LOST ANCHOR and THE LANDING PLACE, DUNQUIN, DINGLE, COUNTY KERRY (A PAIR)
THE LOST ANCHOR and THE LANDING PLACE, DUNQUIN, DINGLE, COUNTY KERRY (A PAIR)
John Ryan (1925-1992)

Auction Date / Lot No.: 22 February 2005 / 146

Published Estimate: €1,500-2,000

Price Realised: €2400

  • Signature: signed lower left and lower right respectively
  • Medium: acrylic on board
  • Dimensions: 25 by 33cm., 10 by 13in.
  • Broadcaster, author, editor, theatre set designer, actor, producer, publican and painter – John Ryan was a well-known figure in Dublin for over fifty years. He studied at the National College of Art and from 1946 onwards exhibited regularly with the RHA, the Oireachtas and the Living Art exhibitions. He was editor of the literary and arts journals, Envoy (1949-51) and The Dublin Magazine (1969-74), as well as a long-time contributor to Sunday Miscellany on Radio Éireann. In 1975 he published a book of his reminiscences of literary Dublin entitled Remembering How We Stood, featuring stories of his friends including Brendan Behan, Patrick Kavanagh and the many Dublin characters who patronised his famous pub, "The Bailey" in Duke Street.

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ABSTRACT STUDY (SINGLE ELEMENT COMPOSITION)
ABSTRACT STUDY (SINGLE ELEMENT COMPOSITION)
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 22 February 2005 / 147

Published Estimate: €1,000-1,500

Price Realised: €1700

  • Signature: exhibition labels on reverse
  • Medium: gouache over pencil on paper mounted on board
  • Dimensions: 12 by 23cm., 4.75 by 9.25in.
  • Provenance: The artist's estate; Taylor de Vere White auction, Dublin, 1 December 1989, lot 43; Peppercanister Gallery, Dublin; Private collection, Dublin
  • Exhibited: 'Mainie Jellett 1897-1944', Taylor Galleries, Dublin, 29 November - 1 December 1989, catalogue no. 43; 'Summer Exhibition', Peppercanister Gallery, Dublin, 9-31 July 2002, catalogue no. 4
  • A hexagonal shaped study, one of a series of paintings of irregular shapes painted circa 1922-1924. This was one of fifty works sold by the artist’s family in 1989 in order to raise money for the Mainie Jellett Fund, which enables Irish art students to study abroad.

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WICKLOW LANDSCAPE
WICKLOW LANDSCAPE
Anita Shelbourne RHA (b.1938)

Auction Date / Lot No.: 22 February 2005 / 148

Published Estimate: €1,200-1,500

Price Realised: €1200

  • Signature: signed lower right; inscribed lower left; Taylor Galleries framing label on reverse
  • Medium: gouache on board
  • Dimensions: 46 by 56cm., 18 by 22in.
  • Provenance: Lad Lane Gallery, Dublin; Private collection, Cork
  • Painted circa 1979 at the time of the artist's solo exhibition with the Lad Lane Gallery.

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OLD HARBOUR, WEXFORD
OLD HARBOUR, WEXFORD
Richard Kingston RHA (1922-2003)

Auction Date / Lot No.: 22 February 2005 / 149

Published Estimate: €4,000-6,000

Price Realised: 


SAND AND SEA
SAND AND SEA
Clement McAleer (b.1949)

Auction Date / Lot No.: 22 February 2005 / 150

Published Estimate: €1,500-2,000

Price Realised: 

  • Signature: signed and dated [1983] lower right; inscribed, dated and signed again on reverse
  • Medium: acrylic and pastel on paper
  • Dimensions: 56 by 71cm., 22 by 28in.
  • Provenance: Tom Caldwell Galleries, Dublin
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